Cambridge Arts Theatre, Cambridge – until Saturday 18 March 2023
Reviewed by Steph Lott
5*****
This could be a very short review. In summary, it’s a blimmin’ marvellous production and you should buy a ticket now, without delay! However perhaps I should say why I think that.
Andy Dufresne has been given a double life sentence for the brutal murder of his wife and her lover. He says he’s innocent. Imprisoned at the notorious Shawshank facility, Andy quickly learns that no one can survive alone.
Andy becomes friends with the prison fixer Red and demonstrates his talents for accountancy, talents which come to the attention of the prison governor Warden Stammas. However, Andy is quietly plotting his ultimate revenge.
Based on Stephen King’s 1982 novella Rita Hayworth and Shawshank Redemption, this production stars Joe Absolom (EastEnders, Doc Martin) as Andy Dufresne and Ben Onwukwe (London’s Burning) as Ellis ‘Red’ Redding.
This mesmerizing tale of unjust imprisonment, powerlessness in the face of cruelty, and, ultimately, hope and escape, has now been brought to the stage by Owen O’Neill and Dave Johns. The production is directed by David Esbjornson, with design by Gary McCann and lighting design by Chris Davey. The set design is ingenious and the lighting evocative. I wondered how it would transfer to the stage, but it is just as suspenseful, mysterious and heart-wrenching as the Stephen King novella or the 1994 film starring Tim Robbins and Morgan Freeman.
Joe Absolom and Ben Onwukwe deliver equally standout performances, but they are not alone. The whole cast are unforgettable, each in their own way. Mark Heenehan is both pompous and menacing as the cruel and corrupt Warden Stammas. Jay Marsh as Bogs Diamond and Leigh Jones as Rooster are truly vile and mindlessly brutal as the predatory “Sisters.” Coulter Dittman shines out as Tommy Williams. The whole cast are truly accomplished.
The play takes place over the course of 20 years and is of necessity a slow burn. But it never flags, and every word and action are flawless. The stage production of The Shawshank Redemption portrays an incredibly harrowing story but the message the play delivers is one of hope.
Unlike seemingly every member of the enthusiastic audience at the performance of Buddy that I attended, I thought I didn’t really know anything about the music of Buddy Holly, so was arriving to this musical with a ‘clean slate’ in terms of my expectations. It was clear from the opening bars of the show that I was surrounded by serious Buddy fans – ladies who might have been young when he was in his prime were bouncing on their seats with excitement, and the final half an hour of the show saw plenty of dancing in the aisles. It was clear that the audience last night loved every minute of it. There were a perhaps surprising number of younger folks in the audience too, and they were no less enthusiastic.
And it turned out that although I thought I did not know his music, I did actually know a lot of Buddy Holly songs – such is the enduring nature of his appeal.
AJ Jenks put in a tremendous performance as Buddy the musician – a fabulous voice and seemingly endless energy brought Buddy Holly’s songs truly to life. All the cast members also performed as musicians throughout, which always strikes me as an incredible feat – all were incredibly impressive, but a special mention must go to Joe Butcher as Joe B. Maudlin who performed simply unbelievable acrobatic feats with his double bass – whilst playing it!
The musical numbers were obviously the focus of the show, and there were certainly sections of dialogue which felt somewhat stilted and slow, but it was never long before another hit returned the energy to the stage, and some of the performances from the other ‘acts’ of the period were outstanding – Samuelle Durojaiye and Laura-Dene Perryman as Marlena Madison and Chantel Williams absolutely stole the show with their barnstorming set in the scene from the Apollo, Harlem. Miguel Angel as both Tyrone Jones and Ritchie Valens brought dynamism and humour, along with a magnificent voice.
The youth and vitality of the whole cast only emphasised further the tragedy of Buddy Holly’s death at the age of 22, and there is an inevitable poignancy to any reflection on his life and music, but what a tribute this show is to him. The show had officially ended by the time I left the theatre but most of the audience were on their feet and still dancing the night away, unwilling to leave – indeed I wouldn’t be surprised if they were still there now. I for one am a new convert, and will looking up Buddy’s back catalogue on Spotify..
Initial casting announced for the world premiere of ‘Glory Ride’
Josh St. Clair, Amy Di Bartolomeo, Fed Zanni, Daniel Robinson
‘Glory Ride’ Book, Music & Lyrics by Victoria Buchholz & Todd Buchholz Directed by Kelly Devine
Charing Cross Theatre 22 April to 29 July, 2023
Josh St. Clair, Amy Di Bartolomeo, Fed Zanni, Daniel Robinson, Ruairidh McDonald, Ryan Bennett, Peter Watts, Jamie Coyne, Loris Scarpa, Susianna Paisio, Steve Watts, Alice Spigariol
GLORY RIDE, a new musical with Book, Music & Lyrics by Victoria Buchholz & Todd Buchholz, directed by Kelly Devine (Olivier Award-winning choreographer of ‘Come From Away’), reveals the secret wartime heroics of Gino Bartali, one of the most beloved athletes of all time.
A Tour de France winner, in the 1940s he was considered the second most famous man in Italy – after Mussolini. His cycling achievements on the Alps and Pyrenees were legendary, but until recently, few knew that he risked his life by saving hundreds of people from fascism during World War II.
With his cycling career as a cover, Bartali cycled thousands of miles between cities across Italy. Hidden in the frame of his bike were falsified identity cards and other secret documents to help victims cross borders to safety. His bravery rescued hundreds of persecuted Jews and other refugees, many of whom were children. In 2013, Yad Vashem, Israel’s official memorial to the victims of the Holocaust, recognised Gino Bartali with the honour of Righteous Among the Nations.
GLORY RIDE transports the audience to the golden hills of Tuscany during the darkest days of the Second World War, with a story combining heist, history, humour, and humanity and a soaring new score.
Victoria Buchholz encountered the story of Gino Bartali while travelling in Tuscany and set out to put it to music as GLORY RIDE, working with her father, Todd, a best-selling author, inventor and senior White House economic adviser.
GLORY RIDE was developed through workshops in New York and Los Angeles featuring top Broadway talent, with sold-out staged concerts last year at The Other Palace Theatre in London.
Cast includes: Josh St. Clair (as Gino Bartali). Josh’s West End credits include the original cast of ‘Frozen’ (as Grand Pabbie), Peter Kingsley in ‘City of Angels’, ‘School of Rock’ and ‘Wicked’, and the UK tour of ‘Kinky Boots’.
Amy Di Bartolomeo (Adriana Bani). Amy is best known for playing Catherine of Aragon in ‘SIX’ in the West End, Leibeswoosh in ‘Bat Out of Hell’ (West End & Toronto), Meat in ‘We Will Rock You’ (UK tour).
Fed Zanni (Major Mario Carita). From Medina, Italy, Fed’s recent credits include Basilius in ‘Head Over Heels’ at Manchester’s Hope Mill, Nikos in ‘Mamma Mia! The Party’ (O2), ‘The Twelve Tenors’ (European Tour) and Jesus in ‘Jesus Christ Superstar’.
Daniel Robinson (Giorgio Nico). Daniel was Kurt’s Dad in ‘Heathers the Musical’ (The Other Palace), Nathan Detroit in ‘Guys and Dolls’ and Luther Billis in ‘South Pacific’ both (Kilworth House), ‘Kiss Me Kate’ and ‘South Pacific’ (Théâtre du Châtelet); ‘My Night with Reg’ and ‘Piaf’ (Donmar Warehouse).
Ruairidh McDonald (Felix). Winner of the Young Scottish Musical Theatre Performer of the Year, Ruairidh made his professional debut as Buggins in ‘Half A Sixpence’ at Kilworth House and was John in ‘Peter Pan and Wendy’ (Pitlochry Festival Theatre).
Ryan Bennett (Commander Graziani). Ryan was recently in ‘Heathers’ as Coach Ripper/Big Bud Dean/Kurt’s Dad (The Other Palace) and was Lurch in ‘The Addams Family’ (UK tour).
Peter Watts (Fantali). Peter’s credits include Macduff in ‘Macbeth’ (UK Tour), Antiochus in ‘Pericles, Prince of Tyre’ (Upstairs at the Gatehouse), Trinculo in ‘The Tempest’ and Bottom in ‘A Midsummer Night’s Dream’ (both Nottingham Playhouse).
Jamie Coyne (Cosmo). James is a recent graduate of Guildford School of Acting. ‘Glory Ride’ is his professional debut.
Loris Scarpa (Lorenzo). Loris was Svec in ‘Once in Concert’ (London Palladium), ‘Rapunzel’ at The Watermill and played Tweedledum/The March Hare in ‘Alice in Wonderland’ (The Mercury Theatre).
Susianna Paisio (Rosetta). Susianna is an Italian actress and singer-songwriter based in London and Turin. Her stage credits include ‘La Conferenza degli Uccelli’m ‘Chotto Desh’ (Akram Khan Company), ‘Song of the Earth’ (Edinburgh Festival, shortlisted for the Sustainable Practice Award), ‘Una Mendicante Cieca Cantava l’Amore’ (Teatro dei Sensibili, Milan) and ‘Sibilla in Il Postino dell’Arcobaleno’ (Teatro San Babila, Milan).
Steve Watts (Torello). Steve’s credits include ‘Passion’ at Hope Mill, Manchester, ‘As You Like It’ (West End and International Tour); ‘Macbeth’, ‘A Midsummer Night’s Dream’, ‘Lady Be Good’ and ‘The Boy Friend’ (Regent’s Park).
Alice Spigariol (ensemble). Alice is a recent graduate of Royal Central School of Speech & Drama. Glory Ride’ is Alice’s professional debut.
Creative team includes:
Director Kelly Devine Associate Director Ricky J. Hinds Musical Director Dave Rose Set, Costume & Video Designer PJ McEvoy Lighting Designer Rob Halliday Orchestrations Jen Green Casting Director Harry Blumenau General Management Smart Entertainment Italian cultural adviser Federico Bellone Producers Glory Ride 2023 Ltd
Kelly Devine – Director
‘Glory Ride’ is Kelly Devine’s UK debut as a director. As a choreographer, she won the 2019 Laurence Olivier Award for Best Choreography for the West End production of ‘Come From Away’. Her Broadway choreography credits include ‘Rock of Ages’, ‘Rocky’, ‘Doctor Zhivago’, ‘Come From Away’ ‘Diana the Musical’ and ‘Escape to Margaritaville’. She was associate choreographer on ‘Memphis’ and ‘Jersey Boys’.
Todd Buchholz – Book, Music & Lyrics
Todd Buchholz is a novelist and economic historian. He was an original co-producer of ‘Jersey Boys’ and his novel ‘The Castro Gene’, a mystery about a megalomaniacal investor in the Rat Pack era, was named a finalist for the USA Best Book Prize. He provided audio narration for his recent books,’ The Price of Prosperity’ (HarperCollins), which was named a “must-read” by the Wall Street Journal and ‘Rush’ (Penguin), for which he was profiled in The Times in London. Todd served as a senior advisor at the White House and is a frequent commentator in The New York Times and the Wall Street Journal and has appeared on such HBO’s ‘Real Time with Bill Maher,’ PBS NewsHour, BBC Today, and National Public Radio.
Victoria Buchholz – Book, Music & Lyrics
Victoria Buchholz is the author of the play ‘Lockdown’, which has been performed at regional theatres in Southern California and New York, as well as by the Tisch School at NYU. She has served as an executive at Viacom and Royal Caribbean, has written for publications such as the New York Times and the Los Angeles Times, and was a producer for ‘The Charlie Rose Show’ and Bloomberg Television. Victoria’s musical compositions include a set of contemporary pop songs under her stage name, Victoria Beachwood, as well as the score of ‘Law School Musical’, composed during her time at Stanford Law School.
Smart Entertainment – General Managers
Smart Entertainment provides general management, executive producing and consultancy services for the theatre and live entertainment sector. The experienced team have worked on over 100 productions in the last decade. Smart’s recent clients include Hartshorn – Hook Enterprises (including ‘Peaky Blinders: The Rise’, ‘Doctor Who: Time Fracture’, ‘Amélie’ and ‘The Great Gatsby’), ‘Grenfell: Value Engineering – Scenes from the Inquiry’, ‘Grenfell: System Failure – Scenes from the Inquiry’, London Musical Theatre Orchestra (including ‘A Christmas Carol’ at the Dominion, 2020), Rifco Arts, Talawa Theatre Company, Hackney Showroom and Northampton Royal & Derngate.
LISTINGS INFO
Glory Ride 2023 Ltd presents the world premiere of
GLORY RIDE Book, Music & Lyrics by Victoria Buchholz & Todd Buchholz
Directed by Kelly Devine
Charing Cross Theatre The Arches Villiers Street London WC2N 6NL
Box office: 08444 930650
Saturday 22 April to 29 July, 2023
Performances:
Monday to Saturday evenings at 7.30pm
Wednesday and Saturday matinees at 2.30pm
Prices: from £25.00
Premium seats add programme and glass of bubbly for only £7.50 extra.
A £2.50 booking fee applies to phone and internet orders; no booking fee to in person over the counter sales. A restoration levy applies to all tickets
The box office is open from 2 hours before curtain time on performance days for in person sales
Mark Rylance returns to the West End this summer in Dr Semmelweis opening at the Harold Pinter Theatre on 11 July, with previews from 29 June, and running until Saturday 7 October. The critically acclaimed Bristol Old Vic production, directed by Tom Morris, opened in 2022, and sees Rylance reprise the title role.
Mark Rylance said today, “Here is a person who makes one of the most important discoveries in modern medicine – what we now call ‘Bacteria’ – and yet he is pretty much unknown because for forty years, until Louis Pasteur and Dr Lister make the same discovery, no one will listen to him. Why?
“I was intrigued. The inspiration to act our story with a chorus of ballet dancers and a quartet representing the many thousands of mothers who perished unnecessarily, makes this a very powerful piece of theatre for me. I am thrilled to be reviving it in London at the Harold Pinter Theatre.”
With preview tickets from £10 and over 350 tickets a week at £25 or less, the production will play for a strictly limited 14-week run.
Booking for National Theatre Members, Bristol Old Vic Members and ATG Theatre Card Members opens on 17 March at midday.
To sign up for advance booking, please go to https://drsemmelweistheplay.com/ by 22 March – with tickets available from 24 March for those who have signed up, and for SFP Mailing List Members.
Public booking opens on 31 March at midday.
Sonia Friedman Productions and the National Theatrepresent
the Bristol Old Vic Production of
DR SEMMELWEIS By Stephen Brown with Mark Rylance
Based on an original idea by Mark Rylance
Directed by Tom Morris; Set and Costume Design by Ti Green; Lighting Design by Richard Howell Choreography by Antonia Franceschi; Music by Adrian Sutton
“We are the doctors of the modern age. We are marching into battle.”
Mark Rylance returns to the West End as one of medicine’s greatest pioneers, maverick Hungarian doctor Ignaz Semmelweis – the man whose research could save many millions of mothers’ lives.
But what good is a discovery when it falls on deaf ears?
In Vienna, a city of artistic and scientific revolution, thousands of women are still dying in childbirth each and every year. Only Dr Semmelweis can see the invisible killer at work, but to stop it, he must convince his colleagues to admit culpability and approve change.
Damned by an establishment that questions his methods, his motives and even his sanity, Semmelweis is haunted by the women he has failed to save. Can he finally convince the greatest doctors of 19th century Europe to accept his argument – and what will it cost him to make an almost impossible case?
Following a “smash hit” (Mail on Sunday), sold-out run at Bristol Old Vic, this “compelling new drama” (The Telegraph) directed by Tom Morris, featuring live music by Adrian Sutton and original choreography by Antonia Franceschi of Balanchine’s New York City Ballet, comes to the Harold Pinter Theatre in the West End for a strictly limited run this summer.
In association with the Alfred P. Sloan Foundation.
Mark Rylance plays Dr Semmelweis. His theatre credits include Othello (Shakespeare’s Globe), Farinelli and the King (Shakespeare’s Globe/Duke of York’s Theatre/Belasco Theatre), Nice Fish (Harold Pinter Theatre – also co-writer with Louis Jenkins), Twelfth Night (Shakespeare’s Globe/Apollo Theatre/Belasco Theatre – Tony Award for Best Actor in a Play), Richard III (Shakespeare’s Globe/Apollo Theatre/ Belasco Theatre), Jerusalem (Royal Court Theatre/Apollo Theatre/Music Box Theatre – Olivier Award for Best Actor and Tony Award for Best Actor in a Play, and Apollo Theatre 2022), La Bête (Comedy Theatre/Music Box Theatre), Boeing-Boeing (Apollo Theatre/Cort Theatre – Tony Award for Best Actor in a Play) and Much Ado About Nothing (Queen’s Theatre – Olivier Award for Best Actor). Rylance was the Artistic Director of the Shakespeare’s Globe for 10 years (1996-2006). His television credits include Wolf Hall – BAFTA Award for Best Actor and an Emmy nomination. His film credits include Institute Benjamenta, Bridge of Spies – Academy Award and BAFTA for Best Supporting Actor, The BFG, Ready Player One,Dunkirk, Waiting for the Barbarians, The Trial of the Chicago 7, The Phantom of the Open, Don’t Look Up, Bones and All, and The Outfit.
Tom Morris has been Associate Director at the National Theatre since 2004. He was Artistic Director of Bristol Old Vic from 2009 to 2022, where he re-established the theatre’s programme after closure, conceived and directed two landmark festivals (Bristol Proms, festival of world class music and integrated digital technology in collaboration with Watershed Bristol and Universal Music, and Bristol Jam: Britain’s first festival of improvised performance). He also oversaw a major restoration and refurbishment of Britain’s oldest continuously working theatre – creating direct visibility from the street for the very first time. He was Artistic Director of BAC from 1995 to 2004 where he established the scratch developmental programme, restructured the organisation, set up and curated A Sharp Intake of Music, Playing in the Dark, the British Festival of Visual Theatre and the Sam Shepard Festival, and BAC Opera, where he produced Jerry Springer the Opera. His work as a director includes Juliet and her Romeo,The Meaning of Zong (with Giles Terera), Cyrano, King Lear, Touching the Void, The Grinning Man, Swallows & Amazons and A Midsummer Night’s Dream (all for Bristol Old Vic and/or West End/International tour), Monteverdi’s L’Orfeo (Vienna Statsoper), Breaking the Waves (Scottish Opera/ Opera Ventures, EIF, Opera Comique, Adelaide Festival), TheDeath of Klinghoffer (ENO & Metropolitan Opera), Every Good Boy Deserves Favour (NT), War Horse (NT, Lincoln Center and world tour (winning numerous awards including Tony for Best Director, with co-director Marianne Elliott)), Disembodied, Newsnight: The Opera, Home, Passions, Unsung, Othello Music, Trio and All That Fall (all for BAC). Writing includes A Christmas Carol and The Nutcracker (Bristol Old Vic), World Cup Final 1966, Jason & the Argonauts and Ben Hur (all with Carl Heap for BAC), The Wooden Frock, Nights at the Circus and A Matter of Life and Death (all with Emma Rice for Kneehigh) and the libretto for Orpheus in Hell for ENO. Morris was founding Chair of the JMK Trust, is the current Chair of Complicité, has honorary doctorates from UWE and Bristol University, and an OBE for services to Theatre.
Save the date for TheatreCraft 2023, the UK’s largest free theatre careers event.Taking place at London’s Royal Opera House on Monday 20 November 2023, TheatreCraft is the place for young people to explore a huge range of offstage jobs.
Open to 16 to 30-year-olds, the day offers a unique glimpse into a wide range of non-performance careers from directing, stage management and producing, to marketing, lighting and costume design. Attendees can take part in interactive workshops and join backstage tours at the Royal Opera House and other West End venues. They can ask questions of leading industry professionals, explore a Marketplace full of arts organisations and training providers, network with your peers and potential employers and get one-to-one expert advice. All for free!
TheatreCraft continues to address the skills shortage in the sector, showcasing a range of offstage roles and allowing young people to highlight jobs they may not know existed. For young professionals already in theatre, workshops and conversations provide opportunities for career development and much food for thought, (last year we focused on sustainability, funding models and new technologies).
Registration will open later in the year, so pop the date in your diary and sign up to the TheatreCraft newsletter to be first to register for the event and book your workshops and tours. For anyone who can’t attend in person, we will also have a busy online programme.
TheatreCraft 2022 was attended by hundreds of young creatives, over 70 theatre professionals led workshops, talks and Q&A sessions, and 60 of the country’s top theatre companies, arts organisations and education providers exhibited in the Marketplace. In 2023, TheatreCraft will be even bigger!
TheatreCraft was founded by Theatre Royal Haymarket Masterclass Trust (Masterclass) in 2003, and is now co-produced by Theatre Royal Haymarket Masterclass Trust, Royal Opera House, Society of London Theatre and Go Live Theatre Projects.
Details of when registration will be open and the days schedule will be announced later this year.
Quotes:
“We are delighted to host TheatreCraft again this year, opening our doors to hundreds of young people as they explore the wealth of opportunities available to them in this exciting industry. So many talented people started their journey with Theatrcraft, and I look forward to seeing more follow in their footsteps as we work together to make the UK’s theatre industry the best in the world.” – Alex Beard, CEO of the Royal Opera House
‘We are really proud to be able to continue this flagship careers event for young people looking to join our theatre workforce. Finally back in full capacity, we plan to offer more workshops, tours, industry conversations and inspire the next generation of backstage workers. We are pleased to be able to join forces with new and existing oganisations to extend our reach and let young people know theatre has a place for them’. – Claire Walker & Hannah Essex, SOLT and UK Theatre
‘Our industry is full of people whose journey started at TheatreCraft. This year we will inspire another new cohort of young creatives, bringing them together with organisations where they can learn their craft and make brilliant theatre.’ – Clare Annamalai, Masterclass
‘This annual event provides an unsurpassed occasion for young people seeking a career ‘behind the stage’ to discover the huge range of opportunities the world of theatre has to offer. For anyone intent on a job in the theatre industry, this is a not-to-be-missed event!’ – Susan Whiddington, Go Live Theatre Projects
Nottingham was looking and feeling decidedly wet and wintry on Tuesday evening as we headed to the theatre for an evening of bucolic entertainment.
The Cunning Little Vixen Opera was written at the end of the First World War by Janacek. It is based on a very popular newspaper cartoon of the time. It is a story of the natural cycles of nature and life. On the one hand the animals, birds and insects gossiping and lazing in the forest on the other the dour middle-aged men full of regret and longing.
The story highlights Janacek’s love and understanding of nature and the natural world. It has stood the test of time and has some surprisingly “modern” ideas about feminism, freedom and liberation.
Whilst it is viewed as an opera the work includes dance, puppetry and spoken verse. This current production has its origins in the 1980s and was originally directed by Sir David Pountney. It has been revived for Opera North by Elaine Tyler-Hall (Associate Director and Choreographer).
The curtains draw back to show a rolling landscape (set and costume design by Maria Bjorson) with branches hanging down to create the illusion of the forest. In the branches there are suspended rocking chairs with birds watching the scenes unfold. The opening dance by the dragonfly (Stefanos Dimoulas) is light and ethereal, whereas the mosquito (Kamil Bien) is comedic with its bloodstained proboscis. The stage soon fills with all manner of animals, insects and birds. My particular favourite was the badger (Paul Gibson) all grump and whiskers.
On to the scene bounds the youthful fox Vixen Sharp Ears . Clad in red tights, black feet and russet hair. The adult role is played by Elin Pritchard . She is energetic, playful and has a wonderful voice.
The set works its way through the four seasons. The transition from winter to spring caused the audience to gasp and giggle! The set opens to reveal the dark and morose forester’s hut and the grey tavern.
The stand out scene for me was the hens and the cockerel. Vixen Sharp-Ears having dealt with the amorous advances of the dog (James Davies) turns her attention to the farmyard hens and cockerel. Their costumes and mannerisms are fantastic, comic and clever in equal measure. Sharp-Ears tries to liberate the hens. She talks to them about feminism and not being ruled by the cockerel. Sadly and all too predictably they don’t take her advice and well it doesn’t end well for the hens. A fox has to do what a fox has to do.
The three act opera follows the life of Sharp-Ears as she meets her mate, produces a whole load of cubs. Each one the spitting image of their parents, but too many to count! All the while she taunts and haunts not only the Forester (Richard Burkhard) but also the Poacher (Callum Thorpe). Eventually her luck runs out and she meets her end. However the circle of life continues with her oldest daughter emerging centre stage.
The production is supported by a full orchestra, spilling out into two of the boxes, conducted with great pace and enthusiasm by Oliver Randell.
My only disappointment is that some of the singers (in particular the younger cast members) sometimes struggled to be heard above the orchestra. This might have been because we were sitting in the stalls and consequently very close to the orchestra.
Fortunately our production had surtitles on two screens, which ensured we could pick up the lyrics.
Shaw takes a contentious subject and lays it out for all to see. Originally written in 1893, even today we find the story hard hitting. This is the story of resourceful women in a patriarchal society, that forces women to be dependent on men. 220 years later we are still battling for women’s rights with men like Shaw standing right beside us, using the medium of theatre to tell it how it is.
Caroline Quentin (Mrs Warren) takes the range of emotion in this piece in her stride. The pretence as a woman of substance eventually slipping into her native dialect, she takes you on a journey of duality, love and harsh reality. The main character Vivie (Rose Quentin) is determined to make her own way in the world, without having to marry for status or relying on her mothers money. Rose Quentin portrays the strength and vulnerability of a determined woman, when faced with the misogyny of the men she is surrounded by. The relationship between Mrs Warren (C Quentin) and her daughter (R. Quentin) has not been necessary up until now, as long as she has given Vivie the opportunities in life to better herself. Facing old age, Mrs Warren (C Quentin) now sees that she is once again in a vulnerable position, with no one to look after her. The final scenes where this comes to light spotlights the talent of Caroline and Rose Quentin in the heart breaking revelations. Simon Shepherd (Sir George Crofts) is the perfect device to accentuate the position of women of the 19th century. Shepherd flexes between affable and vicious with ease. The ensemble create the mood of the time, with pretence and outward appearance being the norm and of utmost importance. We have some glimmer of hope in Praed (Stephen Rahman-Hughes) who offers a different view to the audience, as an outsider not so much embroiled in the profession of Mrs Warren.
I was struck by the beautiful set created for each scene, cleverly contrived to draw the audience in. The creative team offered a glimpse into a previous world, through costume and the set. In the words of the Quentin’s, this is a piece that is ‘often hilarious and eventually deeply moving’. They have done George Bernard Shaw proud.
Mayflower Theatre, Southampton – until 18 March 2023
Reviewed by Gemma Gibson
5*****
Johan Persson
I have always been a big fan of Matthew Bourne and New Adventures, but this ballet adaptation of Sleeping Beauty has to be one of my favourites.
Once again the company has taken a tale everyone knows and loves and put its stamp on it.
Fairies, vampires, magic, romance, humour – Matthew Bourne’s Sleeping Beauty has it all.
The ballet follows the ‘good versus evil’ fairytale that everyone knows and loves – dark magic puts Princess Aurora to sleep and only true love’s kiss will wake her from slumber – but, of course, there are twists, turns and even new characters along the way.
The choreography in this supernatural tale is flawless throughout. Each routine takes us through the story clearly and with ease, and from explosive jumps to complex lifts and fluid floorwork, it’s so impressive what these dancers can do.
Ballets can be criticised for being too hard to understand but New Adventures makes it easy. Even the scenes of running around told a story, while looking balletic and beautiful.
This gothic romance was cast exceptionally well, each dancer expertly embodying their character. Princess Aurora, played by Cordelia Braithwaite, was perfection, dancing alongside Paris Fitzpatrick as Count Lilac, King of the Fairies and audience favourite, Stephen Murray, the royal gamekeeper, and Ben Brown, villain of the night.
Split into four acts, the ballet was simple to follow as it cleverly transported us through time – blasting through the Edwardian era to present day. There was the baby Aurora in 1890, Aurora coming of age in 1911, Aurora waking up in 2011, and by Act Four – ‘Yesterday’ – we’re desperate to find out if the sleeping beauty will ever find true love again.
Featuring the present day like this was something I’d never experienced in a ballet – yet another example of Matthew Bourne’s work diverting from the norm, the traditional narrative.
There are so many scenes that deserve a mention, but the introduction to the fairies has to be one of my favourite parts. Each with their own character and movement, complete with enchanting costume and make up, it was so much fun watching each fairy’s solo across the stage entertaining both us and baby Aurora.
Scenes exposing the playful and mesmerising chemistry between Princess Aurora and the gamekeeper was by far an audience favourite on opening night.
Another wonderful scene for me is the celebrations for Aurora’s 21st, as she gets swept, twirled and lifted around the stage in search for a suitor. An energetic and emotional performance, complimented by pastel colours, a stunning backdrop, and dancers dressed in regal white.
On that note, the set, music and costume throughout is simply breathtaking, enhancing the progression and magic of the story.
Matthew Bourne’s Sleeping Beauty has reawakened and is a must watch.
London, Wednesday 15 March: Michael Harrison and the Really Useful Group are thrilled to announce that Gary Wilmot, one of the all-time legends of The London Palladium and a star of the annual Palladium Panto, will play the title role in The Wizard of Oz this summer. Gary will star as The Wizard and Professor Marvel, joining the previously announced Jason Manford (the Cowardly Lion) and Ashley Banjo (the Tin Man).
Michael Harrison, the producer of the smash-hit Joseph and the Amazing Technicolor Dreamcoat, presents Curve’s brand-new production of one of the world’s most beloved musicals, beginning performances on Friday 23 June.
Gary has starred in a string of television series making him a household name as a comic-actor and singer. He has been a subject of This is Your Life, hosted the Laurence Olivier awards and won a TMA best actor nomination in his musical theatre debut as Bill Snibson in Me And My Girl.
His many theatre credits include The Wizard in Wicked (Apollo Theatre), Jethro in Prince of Egypt (The Dominion) and Badger in The Wind in the Willows (The London Palladium).
Gary’s star turn in the Christmas Palladium Pantomime – which includes as Queen Nigella in Jack & The Beanstalk, Dame Gary in Pantoland at The Palladium, Mrs Crumble in Snow White and The Seven Dwarfs and Sarah The Cook in Dick Whittington – has cemented his place as one of the legends of the iconic theatre.
Michael Harrison said: “I’m delighted today to announce that Gary Wilmot will join Jason Manford and Ashley Banjo in the thrilling new production of The Wizard of Oz. Gary has been one of the stars of The Palladium panto for the last 6 years, and audiences have loved his natural sense of comedy and mischief. I know he will bring these qualities to The Wizard, and his casting only adds to the magic in store at The London Palladium this summer.”
Further star casting is to be announced.
Join Dorothy and Toto on an unforgettable adventure as they are swept over the rainbow to the merry old land of Oz.
Featuring the iconic original score from the Oscar-winning MGM film, including Over The Rainbow,Follow The Yellow Brick Road and We’re Off To See the Wizard – with additional songs from Andrew Lloyd Webber and Tim Rice – this spectacular production will be a magical experience for all the family.
Directed by Nikolai Foster (Billy Elliot The Musical, A Chorus Line) The Wizard of Oz has choreography by Shay Barclay, Set Designer is Colin Richmond, Projection Designer is Douglas O’Connell,Costume and Puppet Designer is Rachael Canning, Lighting Designer is Ben Cracknell, Sound Designer is Adam Fisher, Creative Consultant is Mark Kaufman, Musical Director and Musical Supervisor is George Dyer, Casting Director is Kay MagsonCDG, Props Supervisor is Marcus Hall Props and Wigs, Hair and Makeup Designer is Elizabeth Marini.
Follow the yellow brick road next summer to The London Palladium!
Michael Harrison, Gavin Kalin with David Mirvish, Crossroads Live, Tulchin Bartner Productions, Rupert Gavin & Mallory Factor by arrangement with The Really Useful Group Limited, present the Curve production of The Wizard of Oz.
What makes a serial killer tick? And are there ever tell-tale signs?
Scottish detective David Swindle presents a chilling, thrilling, night at the theatre as he explores famous murder cases from the detective’s perspective – and the clues behind The Makings of a Murderer.
“Serial Killers are cunning, conniving, controlling, careful and – I hate to say it – clever,” says David. “They live apparently normal lives and get away with their crimes for years… until eventually detected.”
Hear about the Britain’s most infamous serial killers, including Jack the Ripper, Peter Tobin, Harold Shipman, Peter Sutcliffe and the ‘killer couples’ – Fred & Rose West and Moors Murderers Ian Brady & Myra Hindley.
With more than 34 years experience as a senior detective, David Swindle shares his unique insight into the mind of a murderer, the famous cases that were never solved, and how murderers got away with it… from someone on the inside.
David, whose ground-breaking Operation Anagram uncovered the activities of Peter Tobin, paints an often-dark picture of how these monsters come to be in a gripping, fully-interactive, audio-visual first.
David also looks at the connections to the local area of the most famous murder cases.
The Makings of a Murderer is a chilling, thrilling, night at the theatre not to be missed.
David Swindle
David Swindle
With over 34 years police service mostly within the Criminal Investigation Department (CID), David has been involved in hundreds of murder investigations and was at the forefront of implementing change and developing innovative national crime investigation processes
His work as Senior Investigating Officer (SIO) saw him managing high profile and challenging UK cross border investigations including the Glasgow Airport Terrorist Investigation and the murder of Polish student Angelika Kluk in Glasgow. He also formed Operation Anagram to investigate serial killer Peter Tobin’s involvement in other crimes.
This activity attracted high profile media comment with extensive online coverage and a Chief Constable’s Commendation:
“Following the terrorist attack at Glasgow International Airport on 30 June 2007, you provided drive and inspiration to members of the enquiry team working under incredibly intense difficult circumstances. Under the immense pressure of worldwide media scrutiny, you ensured that the excellent investigative reputation of the Force was upheld.”
As Head of Strathclyde Police Public Protection and SIO, David was responsible for overseeing the investigation of crimes, mitigating risks and formulating policy regarding dangerous offenders, rape and serious sexual assault, vice and human trafficking, child protection and vulnerable persons. As a high profile senior police detective, he was involved in the innovative use of TV, online and social media regarding serious crime investigations; in particular, investigations of the serial killer Peter Tobin, which included creation of the groundbreaking BBC Crimewatch Operation Anagram website.
Since retiring from the police and setting up David Swindle Crime Solutions in June 2011, his skills and strategic vision have been very much in demand by a variety of public and private sector organisations for investigative, advice and case review issues abroad and in the UK.
Entertainers (Producers) Entertainers have 20 years experience producing popular entertainment across the UK. Their new Canvey Island HQ, built since lockdown, houses all aspects of production from set building and maintenance to a recording studio and full-size rehearsal space and a fleet of 36 vehicles.
Entertainers stage more than 1,500 separate performances each year, selling over one million seats, with 25 lavish productions that include: ‘Lost in Music’, ‘Fastlove’, ‘The Magic of Motown’, ‘Cirque: The Greatest Show’, ‘Thank You for the Music’, ‘The Rocket Man’, ‘An Evening of Burlesque’, ‘Don’t Stop Believin’’, ‘80s Live!’, ‘90s Live!’, ‘Radio Gaga’, ‘Sweet Caroline’, and ‘Islands in the Stream’,
New shows ‘Do You Believe in Ghosts?’ and ‘The Makings of a Murderer’ mark a move away from music to scripted theatrical productions, and they will both make their West End debut at the Adelphi Theatre in 2023.
LISTINGS INFO
The Makings of a Murderer Tuesday 18 April at 7.30pm
